'Prima del Calcio di Rigore/Before the Penalty Kick or the Phenomenology of the Penalty Kick, and Other Tales!' by Antonio Lai da TenladaDecember 12th, 2013 - January 10th, 2014

What goes through the kicker’s head before he strikes the ball during a soccer penalty kick? What goes through the kicker’s head before he strikes the ball during a soccer penalty kick? Prima del Calcio di Rigore is part of a project: What is the True Color of Noise? This larger project began in 1987 to analyze the importance of the moment of silence before the penalty kick, and the discourse of gray color in music and in art: investigating the essence of fragile emotions, thus challenging good behavior in the myth of the originality that refuses itself. The marginalized, technically “ruined pictures” originated in media manipulated objects. The goal was to bring back vitality as well as the very illusion of life. Pictures were to be reproduced in contrast to the myth of originality. Neurosis in the process of mechanical reproduction zooming into the actual form of spontaneity and continuous productivity showed the persistence of dream-like photographic mnemonic perception. Depiction of ideas resulted in pictures which contrasted any possible idea-concept, thus threatening the double meaning of life in the tradition of art objects, resulting, in the ideology of being free, in the return of the contemporary folk-lore characteristic of this media adverse world. New pictures seem in contrast with other potential pictures, even if they had the same matrix. Does the study of a new iconography make possible new realities, neither figurative nor abstract? How can we decide against hesitancy? How to appeal to the ultimate soul? Can we build a theory on the soul in ourselves? Consider Georges Rouault, did he look at the ideological moment of the past? Or was he projecting the future? Then we can begin to answer the query, “What is the true color of noise?”

Prima del Calcio di Rigore is part of a project: What is the True Color of Noise? This larger project began in 1987 to analyze the importance of the moment of silence before the penalty kick, and the discourse of gray color in music and in art: investigating the essence of fragile emotions, thus challenging good behavior in the myth of the originality that refuses itself. The marginalized, technically “ruined pictures” originated in media manipulated objects. The goal was to bring back vitality as well as the very illusion of life. Pictures were to be reproduced in contrast to the myth of originality. Neurosis in the process of mechanical reproduction zooming into the actual form of spontaneity and continuous productivity showed the persistence of dream-like photographic mnemonic perception. Depiction of ideas resulted in pictures which contrasted any possible idea-concept, thus threatening the double meaning of life in the tradition of art objects, resulting, in the ideology of being free, in the return of the contemporary folk-lore characteristic of this media adverse world. New pictures seem in contrast with other potential pictures, even if they had the same matrix. Does the study of a new iconography make possible new realities, neither figurative nor abstract? How can we decide against hesitancy? How to appeal to the ultimate soul? Can we build a theory on the soul in ourselves? Consider Georges Rouault, did he look at the ideological moment of the past? Or was he projecting the future? Then we can begin to answer the query, “What is the true color of noise?”